ART MEET #8

De nouveau chez moi, cette ART MEET fut marque par participation de DARKO MACAN,  venu a Belgrade pour livrer l’integrale tout fraiche de LA BETE NOIRE. La compilation de cinq episodes en format luxe va recevoir sa propre histoire prochainement – maintenant nous tournons notre attention vers l’atmosphere jolie qui reignait sur la huitieme edition. Comme toujours, c’est la formule de  travail concret autour une rencontre amicale qui fait la magie speciale. Les experiences, les conseils partages et les resultats produits devant nos yeux font d’ART MEET l’occasion utile, valable et precieux. Toujours en rigolant, bien sur:-)

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Nous interrompons ce programme avec les impressions d’un Americain a Paris:

The Art Meet was a good fun although I was more than a bit tired (Zemun was my fifth city in three days crammed with teaching, business and informal meetings and delivery jobs). It was also the first time I participated in such a gathering during a daylight (the Zagreb crew favors the night hours so I, being a morning type, rarely attend those) and my only regret was that I didn’t have any art job in progress with me, so I just doodled a sketch or two and thumbnailed a scene from the third “Broken Universe” story which will be drawn by Vuja Radovanovic once I type the whole thing up.

The most lasting impression of the Art Meet was that the Zemun/Belgrade crew would make for a wonderful sitcom premise. Half a dozen of them covered a gamut of artist archetypes: the tortured artist soul eaten alive by a lack of response (and money) from his editor, the slowest of the slow, the late bloomer tickled pink from the mere fact of turning pro, the seasoned pro finally coming into his own style on an album tailored to his tastes, the talented young Turk for whom no task is too hard or pointless and the tools fetishist. This old hack, visiting for an episode, enjoyed their company enormously and, having eaten all the peanuts, returned home invigorated by this all too brief a dip into a creativity spa.

Thank you all,

mcn

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DRAZEN encrait la baggare avec les loups. Maintenant que les couleurs de ASGARD sont venus, enrihissant ses planches, on peut tranquilement dire que ca va etre un album spectaculaire.

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TIHO a fait les illustrations pour le livre de classe, en attendant la suite de LE DIURNE. A cote de lui, DARKO essayait de faire la decoupage de son nouveau scenario, mais l’atmosphere ne le supportait pas vraiment. C’est deja difficile de dessiner sous les attaques de rire, mais d’ecrire… pas vraiment possible:-)

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BRADA nous a montre le premier (grand) case de nouveau projet medieval et travaillait sur les esquises de costumes et decors

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Chaque fois j’ai l’impression que DULE montre le plus de heroisme parmi nous, travaillant toujours sans complainte sur des centaines de personnages qui peuplent ses cases de BIBLE.

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A gauche de lui, SINISA BANOVIC essayait d’encrer la planche de ZODIAC. Comme les blagues ne suffisait pas, je l’ai additionnellement interompu plusieurs fois en le faisant essayer les divers plumes et stylos j’ai acqueri en mi temps.

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Et dans cette bousculade autour la table trop petite pour tout le monde, j’implementais les tones gris en aquarelle sur deux planches de ZZCP pour mon ami DEKARA de les editions LAVIRINT. L’autre chose a recevoir sa propre histoire, je le promets.

PICTOGRAMAX - 2011 12 16 - ART MEET 08 - 08

2011 12 16 - ART MEET 08 - ZZCP

 

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LA QUATRIEME

Avec tous les planches de premier album d’ARS MAGNA terminees, il fallait juste faire l’illustration pour la quatrieme de couverture pour boucler tout. La couverture est deja fait il y a longtemps, pour des raisons de promotion et catalogue.

PICTOGRAMAX - 2011 - ARS MAGNA 1 - C4 - ENCRE

Apres beaucoup du temps, je m’ai amuse de nouveau sur papier. Au lieu de faire le dessin sur mon ordi portable comme le reste d’album, j’ai choisi de travailler sur papier-aquarelle avec stylo de plume AHAB, pinceau avec piston KONRAD et encre BRUNE BRILLANT de Pelikan.

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Mais c’etait juste pour s’amuser; la version finale va etre “traduit” en encre noir et mis en couleurs informatiques comme le reste d’album.

EDIT: En mi-temps c’est fait et vous pouvez voir le RESULTAT.

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WINTERREISE

Approximativement un an apres ma premiere illustration pour BARBARA HENDRICKS, j’etais invite de faire une autre. Cette fois on m’a demande de transmettre a travers le portrait de diva les notions de froid et calme car il s’agitait de WINTERREISE de Schubert. Apres quelques recherches j’ai propose une variation avec laquelle j’etais tres content:

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J’ai reussi plus de plaire moi-meme que l’editeur:-) C’est la situation rare pour moi dans ce genre de collaboration ou je reste souvent avec un peu de sentiment d’inacheve et l’autre cote pars (relativement) content. Ici c’etait le cas oppose – la couverture a parti ailleurs et le dessin ne fut pas utilise, mais j’ai reste avec un que j’aime bien.

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AHAB REBORN

NOTE: The saga of Ahab started HERE.

The third round of testing  started pretty much the same as THE PREVIOUS DAY, with Ahab the Clear leading the way. Running without any problems and gliding smoothly, the first Ahab went through all the tasks in front of it. A “confirmed” pen, I would say. Now that it feels reassuringly stable, I can enjoy it’s shape and size which I find to be really pleasant. It’s one very comfortable pen, both unposted and posted, although it’s big enough that posting isn’t really necessary, at least for my not so big hands.

PICTOGRAMAX - 2011 - AHAB REBORN - 01

Ahab the Red continued in it’s own fashion, alternating moments of significant wetness with periods of dry seasoning. A curious combination of both wet and dry pen at the same time. Also it needs more of kick-starting than Ahab the Clear, who in it’s turn, managed even to handle without a smirk that slightly glazed paper I declared “inappropriate” yesterday.

PICTOGRAMAX - 2011 - AHAB REBORN - 02

To prevent it from feeling lonely, I introduced once again the Pontiac pen and it joined the session immediatelly. It still feels somewhat more stiff than both Ahabs, but is reassuringly trouble free. In the meantime Lex from FPN gave me some advice on smoothing the nib so Pontiac gets the treatment next.

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Than a nicely detailed thread on Ahab tuning appeared on FPN, inspiring me to clean the red one again and reassemble the nib and feeb according to new instructions. Once done, I filled Ahab the Red with Pelikan’s Brilliant Brown, to see if that might improve the flow and also solve the feathering issues.

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The answers are YES and NO. Ahab the Red now just works as well as Ahab the Clear. Yummie! But feathering seems to be even worse on that beautiful Fabriano Disegno. That paper just ignores my affection, resenting any fountain pen ink I introduce. Too bad, as it is a very pleasant surface to draw on. A lighter ink and line variation are also a recipe for shading that illuminates the drawing and highlights the strokes.

PICTOGRAMAX - 2011 - AHAB REBORN - 05

Seems we have reached a happy ending, with both pens performing and feeling well, inspiring the owner to sketch and sketch more. Thanks to knowledgeable people and a few drops of patience, these pens of the unbeatable value for money, beautiful shape and comfortable size, now work and produce. Give them a chance.

NOTE: The saga of AHAB continued HERE.

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AHAB SLEEPS OVER IT

NOTE: The saga of Ahab started HERE.

After the initial impressions yesterday, I left two Ahabs to rest overnight and a better part of this day. Then after a day’s work I couldn’t help myself and pulled them out again to see how they are doing. The clear one was the first in line and after a bit of a dry start it started dancing. On a slightly thicker Fabriano Disegno the nib glided smoothly and flexing was similarly pleasant. The ugly feathering is still there, but it has nothing to do with the pen. Ahab the Clear worked great.

PICTOGRAMAX - 2011 - AHAB SLEEPS OVER IT - 01

Going for even stronger option – Fabriano 300 gr watercolour paper in sheets – changes the behavior of the nib considerably. Not a hint of feathering, but better yet, the stroke is now much finer, “in line” with my expectations:-) But everything must be paid for – in this case with the pronounced “railroading” as this kind of paper absorbs much more and dries the nib. Also being slightly textured it interacts with the tip and breaks the flow of lines here and there. Apart from “railroading” on longer and faster strokes (and that could even be used as the effect sometimes), everything goes.

PICTOGRAMAX - 2011 - AHAB SLEEPS OVER IT - 02

Then it is the other one’s turn to show if the rest was beneficial. Maybe because the feed got saturated with ink overnight, once the dry-start phase is through, Ahab the Red also puts up a better performance, exhibiting less skipping than yesterday. This pen prefers it slow, at a moderately laid-back pace; any insistance on speeding things up pushes it into hick-ups. So I follow it’s demand, taking it easy and work through two thirds of my sketch… and then it stops. Shaking, side-testing, shaking… starts. A third kind of surface, the slightly textured but also glazed paper, is not really a right choice for this particular pen. But overall the impressions are better today.

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Let’s sleep over it again.

NOTE: The saga of Ahab continued HERE.

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